Every now and then something happens that – for better or worse - shifts your life to a track that you were least

prepared for. Here I was in the idyllic town of Coonoor, in the hills, preparing myself for Global Warming, Peak

Oil and other catastrophes when suddenly I get a call from Aamir telling me I have to take the next flight to

Bombay, ifJaane Tu…was to be shot anytime within a year. It was that simple–a call from the family that could

not be ignored, as Jaane Tu… was also long over-due to launch my nephew Imran Khan.

The next day I was sitting in A. K. Productions' office in Bombay, meeting a team of bright-eyed youngsters who

were introduced to me as Abbas, the writer and director, Manoj, the cinematographer, Shaan, the editor, and

Raghav, the associate director. I tried to look as confident as possible and the journey started.

I must admit I felt like I was starting from scratch. So many things had changed in filmmaking that I could have

easily surrendered. But a few things kept me going. First, Abbas had written a tight, inspired script -the real

starting point before any producer should think of pouring money and effort into shooting it. Second, it was the

perfect launch for my nephew, Imran, who Abbas saw in the lead role from the first time he saw him. Third, the

music by A R Rahman was fabulous and one of his best in Hindi films. And last but not least - Aamir's confidence in me to take over as producer

Jaane Tu… was a revitalizing experience for me – to brush-up on old skills and learn new rules.

I first countered, then, gradually absorbed Abbas's unique way of instructing his actors and playing out the scene

for the camera. Though it seemed to break some rules in my head, they brought amazing results. So what if he

does not like to make shot breakdowns!

I admired Manoj, the cinematographer who was strikingly amicable even while managing the heaviest shifts of

lighting the Bombay streets at night with minimum fanfare, yet achieving a new look and feel. So what if he wanted

half the lighting equipment in town.

I joked easily with Raghav, the associate director, on whose broad shoulders rested the weight of making it all

happen on the shooting set. So what if he finished off half my sandwiches.

I gradually understood the tribulations of being a sync-sound recordist as I watched Stephen deal with all the

unwanted noises of the Bombay streets, birds and occasional team members, to give a clean sync-sound track.

No wonder he did not talk much.

I never knew when Shaan, the editor, put it all together, but it was ready to watch with new twists, no sooner had

we shot it. One way to keep the producer from making painful suggestions!

And above all I learnt how to work in tandem with Rao Sahab who played the strict executive producer, keeping

schedules on track, budgets in control and adolescent hormones of crew members in check, while still being

practical and loveable.

I was grateful to Kiran as associate producer who made well-timed appearances and saved us when we were in

trouble.

Aamir was the perfect co-producer – few words of advice but sticking rigidly to the budget limit. That's it! Made

us think harder.

On the actor's front, Imran was one I was most concerned about -after all, this was his launch film. It kind of

reminded me of how I felt about Aamir during earlier shoots of Qayamat Se Qayamat Tak. But Imran put me

at ease soon. He showed remarkable inner confidence with a sharp learning curve while evolving his own pitch of

rendering a scene in an original and effective manner.

Genelia was dynamite the moment the camera rolled - plain watchable, no matter what she did or wore.

So many other contributors in the Jaane Tu… team and each one I have learnt something from. Oh hell, I was

actually beginning to enjoy this diversion from my bucolic farm life.

And now the film is done and it is time to write a producer's note. Well let me tell you, the defining moment of

a film is the final cut. And having watched that I am glad I was pulled out of the hills to associate with a young film

team that has effectively translated a wonderful script into a memorable film.

Now back to Global Warming and Peak Oil.